【作者】 王慧敏；

【导师】 叶嘉莹； 孙克强；

【作者基本信息】 南开大学 ， 中国古代文学， 2012， 博士

【摘要】 作为中国女性词史的重要一环，同时又是中国文学主潮转换期中的重要一环，民国女性词本身即具有不可忽略的研究价值。通过对民国女性词的研究，可以在很大程度上填补女性词史链条中的空白，使从唐宋延续至今上千年的女性词史能够以一种更加完整的面貌呈现在世人眼前，还原整个女性词的发展轨迹，亦可以帮助后世窥见民国这一特殊的社会转型时期，固守于传统文学阵营的知识女性这一独特群体复杂的文化心态。本文试以民国时期众多的女性词人及其作品为研究对象，从宏观上探讨在民国时期新旧交杂、中西交汇的时代背景下，女性词的发展新貌以及在整个女性词史上的艺术价值及地位；结合民国时期诸多女性词人复杂的生活经历与多元的人生选择，透视她们在特殊背景下的特殊心态以及超越于前代女词人的思想境界与情感世界；并通过具体分析民国时期女词人的作品，来从微观上认识和把握民国女性词多样化的风格及其取得的成就。论文拟分为上下两编，上编是关于民国女性词的总体论述，共分为三部分，第一部分是民国女性词生存的背景。无论是从维新变法运动延续至五四运动的女性解放思潮，还是易代剧变和内忧外患的惨祸给人心造成的失望与痛苦，抑或是新型传播媒介报纸杂志对文学的介入，都或直接或潜隐地影响着民国时期女性词的面貌。这一部分就以民国时期的时代背景为研究的出发点，探讨女性词如何能够在新文学的猛烈冲击下仍然能够顽强的生存下来，甚至在词这一古老的文体创新空间日益狭窄之际依然能够长出新枝的原因。第二部分是民国女词人的身份变迁。在民国三十年新旧文化与思想激烈冲撞与交织的背景下，此一时期的女性词人生存状态与前代相比发生了翻天覆地的变化。她们在时代的推力下，或改变或挣脱了传统的家庭身份，又努力以一重崭新的社会身份独立于世，并以她们的词笔鉴证着中国女性由古典到现代的蜕变过程。这一部分主要把目光聚焦在这些在民国的复杂背景下顽强生存的女性词人的人生经历之上，透视她们家庭身份以及社会身份的双重变迁，探究她们迥异于前代女词人的独立自由之人生态度与文学精神。第三部分是民国女性词的发展概貌及特点。虽然民国只有短短三十几年的时间，但却因为1937年抗日战争的时变刺激，而造成了民国女性词的激变，许多女词人的词作内容与风格在抗战前后发生了截然不同的变化，以1937年为界将民国女性词划分为前后两期，可以更加清楚地看到国难当头对世道人心的刺激，看到时变对文学的影响，从而对民国女性词总体的发展概貌有一个更加清晰地把握。而由于特殊的时代背景，民国女性词明显地表现出不同于传统女性词的新特点，通过对民国女性词的特点加以分析，可以对民国女性词在整个女性词史中的地位与影响进行更加准确地定位。下编是关于民国女性词具体的作家论。第一部分是女杰兼词人的代表——吕碧城。清末民初，大批女性解放的先觉者同时亦精于治词，她们以女杰的身份拉开了民国女性词的序幕。这一部分主要以女杰词人中词学成就最为突出的吕碧城为代表，以其词作及其与众不同的生活经历作为研究的出发点，探究她在不同时期和不同文化环境中的多侧面的自我塑造，并通过对其词学渊源及词作内容的分析，把握她在民国女性词坛独特的历史和文化意义，具体了解作为民国初年女界精英的词人超越于普通女性的人生选择及其笔下不同以往的词学世界。第二部分是画家兼词人的代表——陈小翠。民国时期，以画家身份兼而治词的女性词人不在少数。而画家的身份带来的充满艺术气息的交际圈以及画家特有的风流才情与气质，使得她们的诗词作品相对于其他女词人而言往往表现出独特的风韵，成为民国女词人中别具风格的一个群体。陈小翠正是民国时期能诗擅画的名媛词人的翘楚。她的词作中充满了艺术家特有的灵性和对美的追求与感悟。虽然陈小翠没有站在时代政治的前端，但仍然逃不出动乱时势的滋扰，尤其是中年以后经历的家国沦丧更对她的心灵造成了强烈的冲击，所以她的词作在诗情画意与儿女之情中也自然地融入了兴亡之感，在表现个人情感世界的同时也时有吟咏时代风云的变徵之声，婀娜与刚健交融在一起。第三部分是学者兼词人的代表——沈祖棻。在民国词坛，存在着一批受过高等教育、引人瞩目的新式学人型女词人。她们的作品往往有着更深的文化积淀和更多的理论自觉，同时折射出身为知识分子博大的情怀和高度的社会责任感。其中沈祖棻便是创作成就最为突出的典型代表。她以血泪写成的《涉江词》悲辛满纸，典丽词句中渗透出无尽的家国之恨、故土之思，是词人身历世变流亡多年的真实记录，也是中华民族在战乱屈辱中艰难前行的真实写照，既扩大了词的创作内容，提高了词作反映社会生活的深度和广度，又从多个侧面为我们保存了历史的真实，极具词史意义。第四部分是边缘女词人的代表——丁宁。除上述三类女词人以外，在民国社会还有相当一部分女性虽然没有引人瞩目的社会身份，但却凭借词作在历史上留下了印记。她们是万千普通女性中的一员，她们的经历与情感，更带有普适性，也更能代表那个时代女性生存的现状。其中，丁宁便是经历了旧式女性到新女性的痛苦转变的典型代表。因“屡遭家难，处境日蹙”而以词遣愁寂的丁宁，将平日不愿言不忍言者寄之于词，以词抒发无尽飘零之感。这一部分便从丁宁的生平经历，词作内容及审美意趣几方面出发，对丁宁及其《还轩词》进行全面地分析把握，以求更加真实地了解在中国社会由传统向现代转变的时代夹缝中曲折生存的万千普通女性的生存状态与情感境界。更多还原

【Abstract】 As an important link in the history of Chinese female poetry and transitionperiod of Chinese literature, the female poetry of the Republic of China itself has theresearch value can not be ignored. During the research of that, we can largely to fillgaps in the history of female poetry chain, make the history of female poetry lastedthousands of years from the Tang and Song Dynasties to now with a more completefeature show in front of the world, revert the development path of the history offemale poetry.At the sametime, it also can help us to peek the complex culturalmentality of the women with the new knowledge sticking to the camp of thetraditional literature.On the basis of the female poets and their works of the Republic of China,thisthesis tries to explore the new look of the development about the female poetry, andthe artistic value and status in the history of entire female portry from the macrolevel under the context historical background with old and new cultures mixed.Combination of the complex life experiences and diversity of life choices of manyfemale poets, to perspective their special mind state in a special context and theirideological level and emotional world which going beyond of the previousgeneration of female poets. By specifically analyzing the female poetry of theRepublic of China, we can understand and grasp the variety of styles and theachievement of female poetry in the Republic of China from the micro.The thesis is divided into two parts. The first part is the overall discourse offemale poetry in the Republic of China, divided into three chapters. The first chapteris about the survival background of the female poetry in the Republic of China.Whether the women’s liberation thought continued from the Reform Movement tothe May Fourth Movement, or disappointment and pain caused to the people by thewar, or the intervention of newspapers and magazines in the literature, they all affect the face of the female poetry in the Republic of China directly and potentially. As thebackground of the Republic of China to the research starting point, this chapterexplores the reasons that how could female poetry be able to survive violently underthe tenacious impact of the new literature, even grow new branches in the case ofinnovation space about the poetry increasingly narrow.The second chapter is about the identity changes of the female poets in theRepublic of China. In the context of old and new cultural and ideological collideintertwined during the three decades in the Republic of China,the living condition offemale poets in this period had undergone enormous changes over previousgenerations. Under the thrust of the times, they changed or got rid of the traditionalfamily identity, effort to be independent in the world with new social identity,forensiced the metamorphosis of Chinese women from classical to modern by theirpoetry. The attention of this chapter focuse on the life experiences of female poetstenacious survived under the complex background of the Republic. Perspect thedouble changes of their family status and social identity, explor their independentand free life attitudes and literary spirit quite different from of the previousgeneration.The third chapter is the overview and features of the Republic of female poets.Although the Republic is only a short time in thirty years, but because oftime-varying stimulation in the Sino-Japanese War in1937, caused the intensechanges in the female poetry in the Republic of. The content and style of manyfemale poetry had occurred distinct changes before and after the war. Divided femalepoetry of the Republic into two parts with1937, we can see more clearly thestimulation of national crisis to the hearts of mankind, see the impact of time-varyingon the literature. Then we can have a clearer grasp of the general developmentoverview of the female poetry in the Republic. Because of the special background,female poetry in the Republic clear demonstrat the new features different from thetraditional female poetry. By analyzing the characteristics of the Republic of femalepoetry, we can more accurately locate the status and influence of the Republic offemale poetry in the history of the entire female poetry.The next part is on specific writers of the Republic of female poetry. The first chapter is about the representative of the heroine and poetess-Lv Bicheng. In the lateQing and early Republic of China, a large number of illuminati of women’sliberation were also expert in poetry. They opened the prelude of the female poetryof the Republic with the identity of heroine. This chapter mainly focuses on LvBicheng with the most prominent achievement of them. According to Lv Bicheng’sworks and her unusual experiences,this chapter discusses her self-fashioning aboutdiverse angles in the different period and different cultural environment, analyzes herpoetry origins and content, then generally holds her inimitabal value in literature,history and society by defining her multiple identity.Then we can specific knowledgeof their life choices and poetry world beyond the ordinary women as the heroine andpoet in the early Republic of China.The secong chapter is about the representative of the artist and poetess-ChenXiaocui.In the Republic of China, many female poets also were artists. Because ofthe artistic circle and unique romantic talent and temperament with the identity of thepainter, their poetry works relative to the other woman poets were often manifestedin a unique charm. They became a special group of the Republic of female poetswith unique style. Chen Xiaocui just was the representative good at painting andpoetry in the Republic of China. Her works are full of artists’ unique spirituality andthe quest and sentimen for beauty. Although Chen Xiaocui hadn’t stand on the frontof the era and politics,but she still couldn’t escape from the nuisance of the troubledtimes. Especially the bankrupt of home country in her middle age caused a strongimpact on her mind. So her works naturally integrated into the sense of the rise andfall. While in the performance of personal emotional world,she also recited thesituation of the times with the voice of change levy.She made the graceful andenergetic blend together.The third chapter is about the representative of the academic and poetess-ShenZufen. There were a number of highly educated, eye-catching modern scholar-poetsin the field of the Republic of female poetry. Their works tend to have more deepercultural heritage and more theoretical conscious,reflact their broad feelings and highlevel of social responsibility as intellectual. Shen Zufen is the typical representativewith the most prominent creative achievements among them.”She Jiang Ci” which written in blood and tears full of sadness, penetrate endless hate of the country andhomeland thinking through beautiful words.It’s her true record about exile for manyyears and experience of time-varying, and a true portrayal of the Chinese nation inthe war of humiliation difficult forward. It expands the creative content of the poetry,improves the depth and breadth to reflect the social life, and preserve the truth ofhistory from multiple sides for us.The forth chapter is about the representative of the marginal poetess-Ding Ning.In addition to the above three types of poetess, In the Republic of China there wasstill a considerable part of women, although they had no compelling social identity,but had left imprint by virtue of Ci in the history. They are one of thousands ofordinary women, their experiences and feelings were more universal, and morerepresentative of the female survival status quo of that era.Ding Ning is a typicalrepresentative experiencing the painful transition from the old women to the newwomen. According to her life experiences, content and aesthetics of poetry, we make acomprehensive analysis and grasp about Ding Ning and her works. In order to trulyunderstand the living condition and the emotional state of thousands of ordinarywomen tortuous survival in Chinese society from the traditional to modern times.更多还原